Download the paper theatre and the success of imagery

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THE PAPER THEATRE
AND THE SUCCESS OF IMAGERY
themes
French Shadow and Paper Theatres Room
On with the show!
Images of Épinal
During the 18th c., printed plates illustrating the actors who had
just been seen on the stage were sold to the audience to allow
the pleasures of the theatre to continue after the performance
had ended.
Pellegrin Imaging, which is still popular today, was created
in Épinal in 1796 and played a major role in the circulation
of the paper theatre. Jean-Charles Pellegrin was the first
serial printer of these image plates. As a result of his
success, the small, basic, plate-illustrated theatres were
soon in high demand. Two versions were produced – an
ordinary version and a luxury version enhanced with gilt.
The illustrated Pellegrin Imaging plates often portrayed
permanent features such as the Palace, Marine and
Countryside – or places specific to the town of Épinal
including the prison and barracks.
History of the Tunnel
under the Thames,
paper theatre scene
portraying a visit under
the tunnel constructed
between 1824 and 1844
by Sir Isambard Marc
Brunel, around 1850,
London, Dor Collection
Around 1810, a clever Englishman came up with the idea of
printing not only the same actor in various positions, but also
all of the characters and scenery appearing in fashionable plays.
He also proposed plates depicting the façades and stage, which
could be constructed at home. Theatre-goers could choose from
plates already painted and ready-to-use or the less expensive
version – Twopence coloured – comprising plates to be painted.
Paper to be cut out and glued together to enjoy the pleasures
of the theatre in the comfort of one’s own home: The recycled
theatre is invented!
grey words: items that can be seen in this room
The paper plates… are burned!
As far back as the 17th c., French sculptors/painters printed small
dioramas depicting characters in a theatrical setting: But these
items were not “cut out” to portray drama.
In the 18th c., human silhouettes were cut out from black or plain
paper and projected using a clever machine invented by Swiss
philosopher and poet, Jean Gaspard Lavater. These silhouetted,
cut-out, paper scenes soon became fashionable and marked the
advent of shadow theatre.
This is why the emergence of paper theatres in the 19th c. soon
met with success not only in France, but also in Europe and the
United States. Production increased and became standardised,
aided by the arrival of lithography: This new printing technique
in fact allowed numerous copies to be produced from one tracing
made in ink or pencil on limestone. It replaced the first prints
engraved on copper and coloured stencils drawings.
Before long, the general public had been won over and became
firm fans of paper theatre!
Puppets: marquis
and marchioness,
series of images
of the Pellerin factory,
Épinal
Shadow and paper: Séraphin illuminated
During the 19th c., the sculptors/painters of Metz, Nancy
and Épinal thoroughly exploited the success stories of the
shadow theatre, such as Dominique-Séraphin François,
known as Séraphin. He set up his business in Paris, under
the galleries of the Royal Palace and was renowned for
the variety and originality of his repertoire. However, he
was also involved in political theatre during the French
Revolution, which was known as the théâtre des vrais sans
culotte. One of his most famous plays, Le pont cassé (see
the Pellegrin Imagery plate) was written by Guillemain.
The sculptors/painters of Épinal, Nancy, Metz, Wissembourg
and Munich printed plates depicting the characters, sets
and façades of his theatre as well as his collection of
texts... which were widely distributed throughout France
by pedlars in particular. These people were responsible for
perpetuating the work of this illustrious creator of shadows
through the paper theatre.
.../...
| MARIONNETTES DU MONDE
You may find the notice boards of the museum rooms on our website,
at www.gadagne.musees.lyon.fr
english
THE PAPER THEATRE AND THE SUCCESS OF IMAGERY
A theatre with a universal appeal
Hammer, scissors, paper!
The paper theatre was addressed to adults as much as children,
and often a combination of both.
The repertoire was varied. It was just as suitable for portraying
tales and fairy stories such as Cinderella or Hansel and Gretel
as for operas and operettas including Faust and Giroflé-Girofla.
Plays and pantomimes were also suitable candidates.
In France, however, the paper theatre essentially comprised allpurpose scenery (see Rustic chamber and its wings SN518 and
Small theatre SN519) and standard characters such as peasants,
lords, inn-keepers and maids, etc. because it provided free scope
for improvisation. Puppet theatres were also made from paper.
For many, the paper theatre provided an introduction to the
theatre per se: Charlie Chaplin and Jean Cocteau recounted the
many happy hours they spent playing with paper theatres during
their childhood.
The paper theatre was like a miniature Italian style theatre
comprising backcloths, wings, curtains and a display, all of
which was glued onto a cardboard base. Usually set up on a table,
the paper theatre also included figures produced on the same
scale. These figures were operated from the side using wire or
cardboard tabs, and moved around in the slots provided for this
purpose.
One of the most manageable forms of theatre, it nevertheless
required considerable care in terms of preparation and assembly,
not to mention good tools:
“The base has to be sufficiently thick to take saw cuts of ½ cent.
deep and 1 cent. apart along its length in order to create slots
intended to support the wings, accessories and characters.”
Instruction Leaflet for the new portable, slotted theatre by P.
Clerc.
Théâtre Guignol
(Guignol Theatre),
paper theatre, B. Coudert,
19th c., France,
Dor Collection
The 20th c. sounded the death knell for the paper theatre. Falling
victim to the small screen/television, like so many other arts,
this type of theatre disappeared half-way through the 20th c. only
to witness an artistic revival during the 1980s: Alain Lecucq, an
example of whose work is displayed in the Works of Art room on
the ground floor, is one of the masters.
At the same time, earlier reprints in London, Munich, Copenhagen
and… Épinal, helped to boost its revival in a precious, luxurious
register.
Childhood games: Comedy, Lithography by Gangel and P. Didion, Metz, Moselle Archives
| MARIONNETTES DU MONDE
You may find the notice boards of the museum rooms on our website,
at www.gadagne.musees.lyon.fr
D. Miège / P. Gausset / V. Bonfils © musées Gadagne / Photo credits: © R. Augustin / Archives de la Moselle
grey words: items that can be seen in this room
Luxury paper